Within my practice, I seek to consider and scrutinize the fine line between masochism and catharsis. The creation of images allows for the exploration of ways to express longing, desire, horror, and hope—feelings I regard as perpetually coexistent. The body plays a central role within my work, with photography acting as a tool allowing for the investigation of the visual and conceptual similarities between the forms found in nature and the experience of existing within a body. Existing in tandem with my photography practice, my art historical work is deeply rooted in the history of photography and the formation of new forms of imagery. The ways in which photography has been understood by both the general public and by scholars has shifted greatly over time since the medium’s conception, constantly shifting between perception as a factual medium and an untrustworthy messenger. By definition, an image is indexical—it is the direct product of the light that once touched the subject, pointing to the fact that they once were there. It is within the space that exists between indexicality and the question of an image’s truth that I find a fascinatingly complex place to play.